The choir or _silleria_ is placed opposite the high altar, according to the Spanish custom. It is composed of three ranks of stalls formed of wood, carved, worked, and cut in a marvellous manner, with historical, allegorical, and sacred bas-reliefs. Never was anything more pure, more perfect, or better drawn, produced by Gothic art, already approaching the style of the Renaissance. This specimen of workmanship, which frightens you by the endless variety of its details, is attributed to the patient chisels of Philippe de Bourgogne and Berruguete. The archbishop's stall, which is higher than the rest, is fashioned like a throne, and marks the centre of the choir. The whole of this prodigious piece of wood-work is crowned by brown polished jasper columns, and on the entablature are alabaster figures, also by Philippe de Bourgogne and Berruguete, but in an easier and more supple style, which produce a most admirable and elegant effect. Enormous reading-desks, sustaining gigantic missals, large spartum carpets, and two colossal organs opposite each other, one to the right and the other to the left, complete the decorations. Behind the _retablo_ is the chapel in which Don Alvar de Luna and his wife are buried, in two magnificent alabaster tombs, placed side by side. The walls of this chapel are emblazoned with the arms of the Constable, and with the shells of the Order of Santiago, of which he was grand-master. Not far from this, in the arch of that portion of the nave which is here termed the _trascoro_, there is a stone with a funereal inscription. It is in memory of a noble Toledan, whose pride was shocked at the idea of his tomb being trodden underfoot by people of no consideration and mean extraction. "I will not have a set of low-bred peasants walk over me," he exclaimed on his deathbed; and, as he left a great deal to the church, his strange whim was satisfied by his body being lodged in the masonry of the vault, where, most assuredly, no one will ever walk over it. We will not endeavour to describe in detail the various chapels, we should fill a whole volume; we will content ourselves by mentioning the tomb of a cardinal, executed with the utmost delicacy in the Arabic style; we can compare it to nothing more appropriately than to lace-work on a grand scale. We now come at once to the Mozarabic, or Musarabic Chapel (both terms are used), which is one of the most curious in the cathedral. Before describing it, we will explain the meaning of the phrase _Mozarabic Chapel_.